Evaluation

Throughout the semester I felt as though I developed dynamically as a digital film student. In “Al-Kimia” I worked in a production group for the first time, which meant I had to extend my capabilities in trusting my teammates. This paid off and made the workload manageable so that I was able to enjoy the project. Initially the preproduction phase got a little chaotic because we wanted to abide by a strict schedule. However, I felt like the preparations paved the way towards a smooth-sailing production. It meant that we could meet Sharon Henry and work with dance professionally. It meant that we had space to work with set backs, like the risk assessment requirements that Tim Savage implemented. It meant that the team could have a good amount of editing time. It meant that we could enjoy the project.

After having done this project, what I would do different next time is that I would actually scout for proper locations. Working in studio is too much of a minimalistic concept and deprives our film of a establishing wide shot.

I discovered the aesthetic value of having a proper location whilst documenting Laura Olohan with her “Buffoon Society” piece. After being inducted to the glidecam, the dancers from “The Dance Movement” helped my team realize how important the idea of space is, especially when considering what can be expressed in a space.   

In “Hand of the Artist” I definitely enjoyed working on a more conceptual basis. However I felt that the project was conceptually driven on discussions between Melissa and myself, as opposed to critical theories like that found in “The Future of the Image” by Jacques Ranciere. Unfortunately my sound for this piece could have been better, however I did not anticipate that I would want to interview her. Despite this set back, I found that I really enjoyed experimenting with camera framing. Using Al’s gopro really helped examine the habits that certain artists have, such as Melissa’s tendencies to step back and speculate on her piece. It also fulfills my need to portray the significance of authorship and “hand of the artist.”

All in all, this semester of DFSA proved to be one of my most exciting.This would not have been possible without the support of my peers, and I am most definitely looking forward to future projects with them next year. 

Omar Kamal

Today Al and I made a spontaneous trip to Cardiff where we met up with Omar Kamal in order to document his performances. Omar Kamal is a jazz singer from Palestine, who performs several live concerts around various parts of the UK. This was decided last minute as it depended on whether or not we could manage our other deadlines. 

We shot in the Music Hall at the University of Cardiff where there was a grand piano already on stage. Upon our arrival it was a matter of setting up the sound, lights, camera equipment and ideas. Omar’s team did all the sound equalising whilst Safian and Al set up the visuals. During the shoot I worked with the lighting and as a camera operator for one of the three DSLRs.

At the end of the day we only had enough time to record five of his songs (because Al and I had to catch the bus back to London, and it’s a three hour journey each way). However, we did leave the shoot with a promise for future collaborations with Omar. He is vocal talent that deserves to be recognised. Most definitely looking forward to working with him this June!

See below, a sample of the rushes from Omar's shoot: 

The Buffoon Society

I was casually talking to Laura Olohan (BA (Hons) Fine Art, Year 2) about the definition of performance art because I was having a hard time forming a definition for my own works. Whilst explaining the idea of incorporating dance into her performances Laura brought up the topic that she was "going to be working with dancers that are coming into Uni." I realised she was talking about Rachel Palmer's "The Dance Movement" collaborative, and asked her what she was going to do.

Laura mentioned that she was going to present the "Buffoon Society" concept she had been working on, which was why she was preparing masks at the time. Laura mentioned that "she just had no idea how she was going to get it filmed and documented." This is when I suggested that this would be a perfect opportunity to collaborate.

This is where Robert Smith, Abdulaziz Lamlum and myself were recruited as camera operators. We were inducted to use the glidecam, which is how we came up with most of the footage for this interview with Laura.

Working collaboratively with "The Dance Movement" and Laura Olohan's concept has deepened my appreciation for performance art, and how it encompasses the space in which it takes place. Using the glidecam was perfect because it invited the cameraman and audience to interact with the dance, which hopefully recreates some of the awe found in performance art. 

Fields & Frames: Hand of the Artist

It came to my attention that artists such as Grayson Perry are commissioning other people to create his tapestries for him. On one hand, the tapestries he designs are extremely elaborate and beautiful. Perhaps it is a little too ambitious for one person to work on alone. On the other hand, can he really call it his own work? What if his way of embroidering differs slightly to his assistant's? Taking a purists's approach towards this: it means that Perry's piece is no longer truly of his own expression. This question made me ponder on the idea of authorship and the process behind creating Fine Art.

Bearing this in mind I decided to approach Melissa Dodd, a mixed media Artist. By approaching her I hoped to achieve some kind of understanding about the approach and process of surface-orientated works (I am more of a conceptual and performance artist in my own works). After our multiple discussions about the philosophy behind Fine Art, we concluded that the act behind creation is quite an intimate and irreplaceable notion. As a result I thought it would be interesting to observe and document her painting.

The cinematography was inspired by Tony Hill's "A Short History of the Wheel." It showed a wheel being framed at the centre of every shot, whilst the background would rotate in its circular motion instead.

I was inspired by how this challenged the viewer to pay attention to every part of the frame instead of what was in focus, as the focused subject matter was static. By doing this in my video I was challenging my viewers to watch every part of what was framed, as it is all important. The development of the painting and the hand of the artist were both significant in the creation of this piece of Art.